Comprising largely of collage, in different forms, this new body of work by Rachel Lowe seeks to explore our relationship with, and our increasing reliance on, representational images of all kinds. Using found images, taken from a variety of sources and times, the depicted reality of the image is, in different ways, disturbed or disrupted.

‘People are always afraid of what they don’t understand, but artists have to step into the void - the unknown. The unknown territory is where it’s worth exploring.’

Oscillating between the abstract and the figurative, Banisadr’s paintings feature fantastical landscapes populated with grotesque hybrids in a perpetual state of frenzy. These characters - conflations of animal, god, machine and human - are deftly captured in whirling, exuberant brushstrokes.

Who does all this and doesn’t ask for thanks? Who is so gloriously, so powerfully happy in himself? What is his name? Ah, I know who it is. Sometimes I’d like this Kraus to punch me. But people like him, how could they punch? Kraus only wants what is right and good. That is no exaggeration at all. He never has bad intentions. His eyes are frighteningly kind. This person, what is he doing in a world that is meant and built for empty words, lies, and vanity?

Parallel to ART COLOGNE and within walking distance, the KÖLNER LISTE will be held at The New Yorker | DOCK.ONE from April 16th to 19th, 2015. After a successful start in 2014, the BERLINER LISTE’s little sister will again be promoted as a modestly-sized forum for fresh, contemporary art with high collector potential. The spotlight will be on emerging, promising artists whose work is still in a reasonable price bracket.

Since the mid-60’s Július Koller’s work questions the possibility of a better life in our social reality and the connection between people through art. His work is creating a new cultural situation from a new way of living. His actions, manifesto and almost invisible gestures are deeply related to the real world and change it progressively. Separating the past and remaking the future is his way of resisting totalitarianism.

In the face of the porosity of boundaries, Ziad Antar’s discourse aims to inscribe itself in a dynamic interaction of places, cultures, memories and disciplines. These boundaries are always present in his photographs, videos and sculptures, yet how does he manage to address, through multiple back-and-forth movements, the outside space (public space) and the inside space (private space), past and present, otherness and identity?

Rock Formations is composed of a series of monumental sculptural works as well as a number of smaller pieces all of which display the artist’s ongoing obsession with the sculpture of the ancient world. The art of ancient Greece is particularly important in Silver’s practice and many of the works in this exhibition have evolved from the study of statues and busts in the National Archeological Museum of Athens.